Oxford University Press's
Academic Insights for the Thinking World
What was it like as one of the few female performers in the New York Philharmonic in the 1960s? We sat down with cellist and author Evangeline Benedetti to hear the answer to this and other questions about performance and teaching careers, favorite composers, and life behind the doors of Lincoln Center.
Between 1986 and 1988, the jazz musician and experimental music pioneer George Lewis created the first version of Voyager. After spending some time making work that involved compositional programmes in Paris, Lewis returned to the US and began work on Voyager. His aspiration was not simply to use computers as a tool or raw material, but to create software that could take an equal improvisational role to the other (human) musicians in the performance.
Have you ever wanted to control sound waves? Or spook your friends with an eerie melody? If you answered yes, check out OUP’s instrument of the month, the theremin.
Biography chooses us when there is alchemy between biographer and subject—a perfect fit of interlocking puzzle pieces. In my case, a lifelong fascination with objects and the craftsmen who make them led me to the story of a pioneering violinmaker—American Luthier: Carleen Hutchins—the Art and Science of the Violin.
“Come and put your name on it,” is the first line in Rihanna’s song “Birthday Cake.” She is referring to her female anatomy as she dances in a hip-centered motion, reminiscent of Caribbean movement. Across the globe, reactions to the song’s connotation and the provocative dancing varied greatly, each individual interpreting the sequence of events based on their own experiences, culture, race and gender.
If you were to ask a modern musician what the quarter note means in Common Time the answer would be simple: “It lasts for one full beat, to be released at the beginning of the succeeding beat.” Ah, but eighteenth-century rhythm reading is not a simple “one-size-fits-all” affair. Just as spoken language has evolved over time, so has music notational language. The notation has remained much the same; it is how the notation is read that has changed.
Why do some great Broadway shows fail, and mediocre ones thrive? How does the cast onstage manage to keep tabs on the audience without missing a beat or a line? Ken Bloom, author of Show and Tell: The New Book of Broadway Audiences, delves into the inner workings of the Broadway stage and the culture surrounding Broadway hips and flops.
The sonata concept served some of the greatest imaginations in the history of music, but seriously it is, as I like to say to students, “so not a form”. Haydn, Mozart, Beethoven, and Brahms were not in need of a standardized template, and in essence what has come to be called sonata form is more like courtroom procedure: a process that allows for an infinite variety of stories to be unfold, from a fender bender to vandalism to murder.
The Kodály Concept of music education is based on the philosophical writings of Zoltán Kodály (1882–1967) and incorporates principles of teaching music developed by his colleagues and students. His writings on music education provided the impetus of developing a new pedagogy for teaching music. On August 30th, we discussed five essential lessons from the Kodály Concept. Below are five additional hallmarks of his work.
September marks the new Broadway musical season and the opening of fledgling shows like Natasha, Pierre and the Great Comet of 1812 and familiar revivals like Cats.
You might associate the recorder with memories of a second grade classroom and sounds vaguely resembling the tune of “Three Blind Mice” or “Mary Had a Little Lamb.” While the recorder has become a popular instrument in music education, it also has an extensive and interesting history.
To teach music effectively, we must know our subject—music. We must embody and exemplify musicianship.” (Elliott, Music Matters, 1995, p. 271). But how are we to communicate our musicianship to students in meaningful ways?
Most would agree with the idea that music can have a powerful hold over us—our thoughts, feelings, and movements. Given this, how might music help measure thoughts, feelings, and movements in a way that allows professionals in healthcare improve client treatment? The music therapy profession seems to be experiencing a surge in developing data-measuring tools that incorporate music in the client assessment.
Every summer since 1895, the Henry Wood Promenade Concert (commonly known as the BBC Proms) presents an eight-week orchestral classical music festival at the Royal Albert Hall in central London. This year’s Proms put a special focus on cellos.
You take out the scratched up Beatles’ Abbey Road LP from its musty slipcover, cue it onto the turntable, and broadcast it to the small, rural area surrounding your college campus. It’s 5:00 AM, you’re the only one in the booth, and you ask yourself: is anyone listening? Does what I’m doing matter? Little do you know, as you speak into the microphone introducing “Here Comes the Sun” (as the sun is literally rising), you are part of a long history of college radio. But how is college radio relevant today?
Shakespeare has inspired countless and varied performances, works of art and pieces of writing. He has also inspired music. In this 400th year since Shakespeare’s death we asked five composers ‘how did you approach setting the Shakespeare text you chose for your recent work?’